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1. Making Meaning: Negotiating Seduction in New Media Works

   Some of the issues and challenges creatives face when working with computer technologies is that these technologies are developing at an increasingly rapid rate; they are increasingly ubiquitous and malleable in the public eye and hand; and expectations of contemporary western audiences includes exploitation of their own fascination with the new/the edge of technology. It is the new which garners our attention and captivates our historical memory. This is particularly true in the art world. 

   How does today's cultural producer reconcile or mediate between the push to exploit the celebrity technology of the moment, and thus gain recognition in some aspect of the broader culture; with the integrity of their practice and the inherent desire (assumed) to be engaged in the communication of meaning, i.e. meaningful practice? 

   Wylde discusses her work as a new media artist and considers the phenomena of technological seduction as a force to grapple with (or not).

   Scott Rettberg - 08.01.2013 - 23:37

2. Digital Panoramas and Cinemascapes

   This presentation looks at how new works using panoramic environments and interactive cinemascapes impact ways visual continuity and contiguity function in narrative contexts. Emphasis is on using panoramic environments that layer video, text and other interactive objects on scrolling landscapes to transgress conventional media differences between language, photography and film. Special consideration will be given to the relationship between browser and museum installation environments. Works discussed includes the author's series "Unknown Territories," including "Journey Into The Unknown," and "Cinemascapes," including "Something That Happened Only Once," as well as works by John Rechy and others.

   (Source: Author's abstract, 2008 ELO Conference)

   Note: an expanded version of this talk was published in Hyperrhiz as "Taking A Scroll: Text, Image and the Construction of Meaning in a Digital Panorama"

   Scott Rettberg - 08.01.2013 - 23:49

3. Digital Oracles

   Digital Oracles" is a work that intends to cause awareness and reflection about the influence and power that the search engines on the web exert in our daily lives—not only online, but also offline—in determining our choices and paths. Privacy, control, trust, where the answers come from, the top10 dictatorship, existence, local filtering, utility and manipulation are among the raised issues.

   (Source: Author's abstract, 2008 ELO Conference)

   Scott Rettberg - 09.01.2013 - 00:20

4. Building the Infrastructural Layer: Reading Data Visualization in the Digital Humanities

   Information visualization is a technique for organizing, representing, and interpreting information visually. Information visualizations can take the form of hand-drawn diagrams, popular “infographics,” or interactive, computer-based visualizations. We see examples of information visualizations produced and displayed in myriad contexts, including: the scientific modeling of the Higgs boson particle, the NY Times 2012 presidential election coverage, the popular infographics exhibited at Visual.ly, corporate PowerPoint presentations, public web galleries like Nathan Yau’s Flowing Data or Manuel Lima’s Visual Complexity, Google’s Ngram Viewer, and finally, in humanities research and pedagogy. Examples in the digital humanities include the Stanford Literary Lab’s use of the Gephi visualization platform to map its own academic community, the Software Studies Initiative’s visualization of thousands of cultural media objects like magazines, manga pages, and paintings, as well as Alan Liu’s Research-oriented Social Environment (RoSE) project that incorporates visualization tools directly into the research process.

   Scott Rettberg - 09.01.2013 - 00:47

5. Live Movies

   The presentation "Live Movies" will employ digital images and video clips to depict and discuss new media performance as treated in our recent book, Live Movies: A Field Guide to New Media for the Performing Arts. Live Movies documents the New Stage Technology Project, in which we have been engaged for the past five years at the Multimedia Performance Studio (MPS), and the work of our performance company, Cyburbia Productions. We will also discuss the Live Movies book as a resource for the field of new media art and performance.

   (Source: Authors' abstract, 2008 ELO Conference)

   Scott Rettberg - 09.01.2013 - 01:21

6. Textuality and Graphic Novels: Identity, Influence and Adaptation in V for Vendetta and Beyond

   This paper presents a multimedia/hypertext/PowerPoint presentation that focuses on the graphic novel V for Vendetta by Alan Moore and David Lloyd and the 2006 adapted film version of V for Vendetta, directed by Andy and Larry Wachowski. This presentation addresses the history of graphic novels and looks at recent trends in the medium, compares two scenes from the graphic novel with the film, and weaves in theoretical concepts such as the relationships between text and image, the use of simulation and semiotic analysis. Other issues discussed include the use of theatrics, masks and constructed identity in both texts. Finally, the presentation concludes with a look at the future of graphic novels and a call to further academic studies of this emerging textual medium and its growing life in virtual online forms.

   (Source: Author's abstract, 2008 ELO Conference site)

   Scott Rettberg - 09.01.2013 - 10:12

7. The Medium Is the Metaphor

   For one of my courses this fall, my first semester in the new Media, Art, and Text program at Virginia Commonwealth University, I created a short Flash piece on medium and a hypertext project on medium as metaphor, looking at eight texts—four print authors and four new media works. This presentation focuses on these projects.

   Scott Rettberg - 09.01.2013 - 10:20

8. Words and pictures ex machina? Hypertext and ekphrasis

   Following the concept of "remediation" and the premise that "all of our examples of hypermediacy are characterized by this kind of borrowing, as is also ancient and modern ekphrasis" (Bolter and Grusin, 1999: 44-45), I would like to take under consideration a literary work of Portuguese poet Vasco Graça MouraGiraldomachias / Em demanda de Moura (co-author Gérard Castello-Lopes; 2000). 

   Scott Rettberg - 09.01.2013 - 10:28

9. Art at the Interstice

   In the *Location of Culture*, Bhabha uses concepts such as mimicry, interstice, hybridity, and liminality to argue that cultural production is always most productive where it is most ambivalent. A major site of ambivalence in the realm of digital art and literature lies in the fact that so much of this work exists outside of the economy of exchange and commodified culture. Where lies the future in an art that generates no income for its creators? In a user-generated culture, arts exist at a social interstice (in Nicolas Bourriaud's terms) that might provide a model to evade the pitfalls of consumer culture, commodified objects and monetary exchange. How might the social nature of these works and open source approaches create a space for a new literary/artistic model?

   (Source: Author's abstract, 2008 ELO Conference)

   Scott Rettberg - 09.01.2013 - 11:47

10. Programming Literary Flow

    "Flow" is the movement of eyes and bodies through museums or city traffic, through instructional diagrams or branching narratives, through hypertexts or games. What is flow in electronic literature? While comics scholars have theorized linear flow (e.g. closure, trails) and hypertext scholars have theorized multilinear flow (e.g. transclusions, links), this exploration of flow in elit considers flow as a total experience or simultaneous visible landscape, beginning in the visual design tradition of flowchart art. Bill Barker or Martijn Englebregt's beaurocratic infographics, Jason Shiga or Chris Ware's narrative diagrams, and Simon Patterson or Dorian Lynskey's subway map art remixes all posit narrative as an experience occuring within a visible landscape of controlled traversals. In digital arts, this situated experience is best exemplified by performers using flow-control programming. How might the metaphors and software tools of flow-control used by audio livecoders and video jockey mashup artists (e.g. PD, Max/MSP, Quartz Composer) serve electronic textualists (e.g. Yahoo! Pipes)?

    Scott Rettberg - 09.01.2013 - 11:51

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